Through coincidence or on purpose, Stacey Silverman has worked in many facets of the television business. Starting as an actor and then moving into casting, Stacey now works in the programming department of CBS Studios.
- Since the early 90’s, Stacey, I’ve had actors ask me what they’re “supposed to say” when they meet someone in your position while out socializing somewhere. So the question is, what should a non-star actor cover when they “talk shop” with you?
- Besides the concern for the “ratings” of an existing show that you’re working on, what are the 3 main subjects that take priority in your job on a daily basis?
- You have been both a performer in Los Angeles, and have also worked in casting, but as a newer Network Exec are there any challenges you’ve encountered that remotely parallel the difficulties you experienced in the other two areas?
- If a Network Exec, for whatever reason, requests than an actor be auditioned for a Pilot Series Regular role, or all the way down to a one-line job on one episode… would casting or anyone else ever refuse you that request?
- I would like you, from the position you now sit, to describe the experience you’ve seen when an actor “Goes to Network” for a Series Regular role on a television pilot.
- The 90’s were so different for this, but how much do you believe today, do some of the execs on a TV Show influence the casting of even some of the Guest Stars and smaller Co-Star roles on each weekly episode of a TV show?
- When you’re an executive assigned to an existing show, how often if ever, do you actually engage the Network Executive casting director who is commonly in the same building with you?
- So let’s say your department, or your boss, or your Network “likes” a pilot. From an internal network standpoint describe for us what the ‘stunt casting’ process is like in terms of trying to get “existing stars” attached to do the Pilot?
- Because the industry has changed and so many actors are trying to create their own content or sell a show, have you now experienced a number of “Pilot pitches” and what truly makes a good one?
- Everybody wants to know, in truth, how actually helpful you can be… to any of your actor friends from the chair you now sit in IF you really feel that you “want” to help them on a particular role or show?
About the Guru
Through coincidence or on purpose, Stacey Silverman has worked in many facets of the television business. She grew up in Washington D.C. and started acting in regional theater at the age of 7 years old. After graduating Tufts University, she moved to Los Angeles to work as an actor. She appeared on a variety of different TV shows throughout the years and, as she performed in and auditioned for roles, also worked in TV casting. Employed by ASG Casting and Shooting from the Hip, she cast commercials as well as a number of reality shows such as Supernanny, for which she was able to travel the country looking for suitable parents and children. Since 2006, Stacey has worked at CBS TV Studios. As a TV executive in the current programming department, she has worked on shows like Cold Case, Numb3rs, Harper’s Island, Flashpoint and Blue Bloods. She is involved in every step of the creative process from the story outline stage to the final cut. She also acts as the go-between for the show producers and network. In 2008 she widened her scope and began working in cable development as well. In her cable development capacity, Stacey has worked with writers, directors, and producers to pitch half hour and one hour shows to a variety of cable networks including Showtime, AMC, FX, A&E, USA, and TNT. Recently, she has worked on the USA pilot Common Law, which was shot in February of 2011 and currently awaiting a series pick-up order.